On the Waterfront - The American Century Theater

About The American Century Theater
The American Century Theater was founded in 1994. We are a professional
nonprofit theater company dedicated to presenting great, important, and
worthy American plays of the twentieth century—what Henry Luce called
“the American Century.”
The company’s mission is one of rediscovery, enlightenment, and perspective,
not nostalgia or preservation. Americans must not lose the extraordinary
vision and wisdom of past playwrights, nor can we afford to surrender the
moorings to our shared cultural heritage.
Our mission is also driven by a conviction that communities need theater,
and theater needs audiences. To those ends, this company is committed to
producing plays that challenge and move all Americans, of all ages, origins,
and points of view. In particular, we strive to create theatrical experiences
that entire families can watch, enjoy, and discuss long afterward.
The American Century Theater
presents
March 30–April 28, 2012
Gunston Theatre Two
2700 South Lang Street, Arlington
Board of Directors
Chair
Vice-Chair
Secretary
Treasurer
Board
Staff
Jack Marshall
Paige Gold
Rip Claassen
Brian Crane
Ellen Dempsey
Kate Dorrell
Tom Fuller
Wendy Kenney
Rebecca Christy
Ann Marie Plubell
Kimberly Ginn
Louis George, Paige Gold, Vivian Kallen,
Wes MacAdam, Jack Marshall, Kevin McIntyre
Artistic Director
Managing Director
Bill Gordon
Rhonda Hill
Steven Scott Mazzola
Emily Morrison
Ginny Tarris
Technical Director
Jonathan Hudspeth
Scenic Design
Elizabeth Jenkins
McFadden, usa
Sound Design
Neil McFadden
Director
Kathleen Akerley
Stage Manager
Sarah Conte
Properties Design
Becca Dieffenbach
Assistant Director
Kristen Pilgrim
Lighting Design
Marianne Meadows, usa
Costume Design
Alison Samantha
Johnson
The play takes place in the 1950s
on and around the New York–New Jersey waterfront,
which includes not only the piers but all the places around them—
tenements and their rooftops, bars,
riverfront streets, churches, a cargo ship—
where dockworkers and their families
work, drink, worship, fight, live, and die.
—Budd Schulberg
This program is supported in part by the Arlington Cultural Affairs
Division of Arlington Economic Development and the
Arlington Commission for the Arts, the Virginia Commission for the Arts,
the National Endowment for the Arts, and many generous donors.
There will be one intermission.
Please—Silence and stow cell phones and other distracting devices.
The use of recording equipment and taking of photographs
during the performance are strictly prohibited.
On the Waterfront is presented by special arrangement
with the Estates of Budd Schulberg and Stan Silverman.

Cast, in order of appearance
Joey Doyle, Jimmy Conroy, Glover, Interrogator .................Tyler Herman
Moose, “J.P.” Morgan ............................................Daniel Corey
Truck, Runty .................................................... Cyle Durkee
Tommy, Big Mac ...............................................William Hayes
Luke, Barney ..........................................Christopher C. Holbert
Reporter, Mutt, Bartender ..................................... Graham Pilato
Terry Malloy .................................................... Jack Powers
Charley “The Gent” Malloy .............................. Christopher Herring
Father Barry .................................................Matt Dewberry
Johnny Friendly, Father Vincent .........................Bruce Alan Rauscher
Skins, Pop Doyle ..................................................Joe Cronin
Edie Doyle ......................................................Caitlin Shea
Production staff
Director ....................................................Kathleen Akerley
Assistant Director .............................................Kristen Pilgrim
Stage Manager. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sarah Conte
Technical Director ....................................... Jonathan Hudspeth
Scenic Design ...............................Elizabeth Jenkins McFadden (usa)
Costume Design ...................................Alison Samantha Johnson
Lighting Design .....................................Marianne Meadows (usa)
Sound Design .................................................Neil McFadden
Properties Design .........................................Becca Deiffenbach
Assistant Stage Manager/Board Operator ........................Todd Manley
Master Carpenter ..............................................Jake Lunsford
Fight Captain ................................................... Jack Powers
House Manager ................................................. Joli Provost
Publicist ..................................................... Emily Morrison
Production Photography ...................Dennis Deloria, Johannes Markus
Program and Graphic Design ..............................Michael Sherman
(usa)=Member, United Scenic Artists
Special thanks to—
Gail Stewart Beach, Catholic University Drama Department
Jasper Boyd
Chadwicks
Mike deBlois
Quotidian Theatre Company
Giovanni Rios
Yorktown High School Special Education Department
Become a fan of The American Century Theater on Facebook. Keep
up with shows, auditions, volunteer opportunities, podcasts, videos,
and more. www.AmericanCentury.org
On the Waterfront by Budd Schulberg (1995)
Budd Schulberg waited more than forty years to adapt his legendary
screenplay for On the Waterfront to a stage play. The film had been the
Oscar champ in 1954, with some of the most memorable lines to enliven
any Hollywood product since Casablanca. None, of course, was more
famous than these, uttered by Terry, famously portrayed by Marlon
Brando:
He gets the title shot outdoors on the ballpark and what do I get? A
one-way ticket to Palooka-ville! You was my brother, Charley, you
shoulda looked out for me a little bit. You shoulda taken care of me
just a little bit so I wouldn’t have to take them dives for the short-end
money . . . . I coulda had class. I coulda been a contender. I coulda
been somebody, instead of a bum, which is what I am.
In moving from film to play, Schulberg was traveling a well-worn route,
but backwards—a challenge that has repeatedly confounded writers,
producers, and directors. The usual route is in the other direction, from
novel to stage to film. There, the path to box office success is clearer,
and the artistic objectives more obvious. When a novel becomes a play,
the former reader gets to see characters, who once existed only in his
mind, become concrete, and the cast, designers, and director give the
story enhanced shading, pace, and nuance that before could only be
described. Film takes the stylized language of theater and translates the
story and characters a second time, adding both realism and the film’s
unique vocabulary of varying camera movements and angles, music
underscoring action, and acting that may not seem like acting at all.
Sometimes, a movie does this so vividly that it overcomes all previous
forms of the story completely: many of The American Century Theater’s
strongest productions have been of shows so memorably adapted to the
screen that their previous incarnations had been virtually forgotten.
Once a successful movie has been made, why go backwards? The usual
reason is money. When the title is well-enough known, a stage version
can be profitable even if it isn’t very good, thanks to licensing fees from
amateur groups, colleges, and schools. There are stage versions of To Kill a
Mockingbird, One Flew Over the Cuckoo’s Nest, and The Graduate that prove
this formula can work. But such shows fail to meet Stephen Sondheim’s
wise test for bringing any adaptation to the stage: There has to be a
valid artistic objective, something that the stage version can accomplish
that the original did not. Otherwise, the stage show is just a cynical
commercial exercise, no matter how much money it makes.

Schulberg understood all of this, which may have been one reason why
making the commitment to bring On the Waterfront to the theater took
him so long. Finally, however, he could not get past one fact: On the
Waterfront was, like his best works (What Makes Sammy Run, The Harder
They Fall) but more so even than the rest, a personal exposition of an
important part of his own life, given fictional form. The screenwriter in
Hollywood is the least among creative equals in the production process,
particularly when his collaborators are as independent, strong-willed,
and brilliant as the film’s director, Elia Kazan, and its star, Marlon Brando.
Despite the film’s success and the accolades Schulberg received for
it (Brando’s dishonest insistence that he had “improvised” the iconic
contender speech was a longstanding annoyance), he apparently still felt
that his story had never been completely and faithfully told. That fulfilled
Sondheim’s test.
On the Waterfront, you see, was inspired by Schulberg’s experience of
embracing and eventually betraying the Communist Party, which he
belonged to for years but came to regard as a threat to artistic freedom.
In the stage versions (there are more than one), Schulberg attempted
to clarify the issues of principle, loyalty, justice, guilt, and power at the
core of the story, with his own perspective unaltered, uninfluenced, and
undiluted by the sympathetic but still different perspectives of Elia Kazan.
The year before he died, in 2008, Budd Schulberg was still working to
get his story told in the British mounting of his play—and again meeting
resistance from a director. As always, The American Century Theater
is hoping to strike a balance—between making a memorable theater
experience for the audience and fulfilling the vision of the playwright, in
this case an artist who may have never lived to see the On the Waterfront
that he always had so vividly in his mind.
—Jack Marshall, Artistic Director
Who are they when they’re comfortable? Who are they when they’re
threatened? Who would they be if they lived in a world with no real
control over finding a path that includes both financial security and
personal autonomy and self-actualization? And what if that’s where they
live already?
On the Waterfront is famous for one man’s battle with his sense of self
in a world that gave him lose–lose choices. He coulda been a contenda,
after all, but what the whole story tells you is that maybe he would have
been a contender and maybe he would have been fish food for refusing
to throw the fight. The play, to me, is much more about all men: Everyone
on stage is tasked with building a life in lose–lose circumstances. Even
Johnny Friendly came from a huge, impoverished family. And living in
a lose–lose world makes their identities tenuous: If it’s expedient, even
apparently necessary, to be a killer, then the guy next to you could
change who he is faster than the time it takes to turn his way.
—Kathleen Akerley, Director
If the person in the next seat suddenly had limited access to food, or got
a text message (they are texting, right?) telling them they’d lost their job,
who would they become? If, in the middle of the play, they were told
they had to pay an additional fee for Act II but that any attempt to leave
in protest would result in violence and, possibly, death, would you be
sure the impression you’d formed of them in the parking lot pre-show
was still true?
In brief, who are these people?

Daniel Corey (Moose, “J.P.” Morgan) appeared most recently in after the quake
(Rorschach Theatre), Macbeth (Impossible Theater Company) and Juno and the
Paycock (WSC Avant Bard). He has also worked locally with the Chesapeake
Shakespeare Company and Quotidian Theatre Company. Upcoming: Qualities
of Starlight (Source Festival) and Marathon ’33 (The American Century Theater).
Each winter, Daniel directs the annual play for the Avalon and Brookewood
Schools in Maryland.
Joe Cronin (Pop Doyle, Skins) is familiar to American Century Theater audiences
from roles as Father in Life with Father, MacBird in MacBird!, Captain Dick Scott
in Beyond the Horizon, the Shamus in The Tenth Man, and a dozen others. He has
recently appeared as Lord Chief Justice in the The Mistorical Hystery of Henry (I)V
(WSC Avant Bard) and as Wilson in Harvey and Burgess in Candida (Bay Theatre,
Annapolis). He has also performed with Arena Stage, Theater J, Olney Theatre
Center, Rep Stage, Solas Nua, Washington Stage Guild, Spooky Action Theater,
and Everyman, Keegan, and Interact Theatres. Joe was a company member for
many years with the Heritage Theater of New York and earned his MFA in acting
from the Catholic University of America.
Matt Dewberry (Father Barry) has appeared locally as George in The Habit of
Art (Helen Hayes Nomination Best Ensemble) and Sweets in Mojo (both, Studio
Theatre); Roy/Pale Male in Birds of a Feather (Helen Hayes Nomination Best
Ensemble, Hub Theatre); Milt in Laughter on the 23rd Floor (Keegan Theatre);
Chi Fu in Mulan (Imagination Stage); Jeeves in By Jeeves, Limping Man in Fuddy
Meers, and Felix in Humble Boy (1st Stage); Sam in Spot’s Birthday Party and MC
Dog in Go, Dog, Go! (Adventure Theatre); War Profiteer in Peace (Washington
Shakespeare Company); Duncan/Siward in Macbeth (Push Pull Theater
Company); Kevin in Then and Again, Dave in Inheriting Cleo, and Jonathan in The
Downtown Daylight Project (Source Festival). Upcoming: Bloody Bloody Andrew
Jackson (Studio Theatre).
Cyle Durkee (Runty, Truck) has performed in Who’s Your Baghdaddy? (or How
I Started the Iraq War) which won best overall production for Capital Fringe
Festival 2011, Schodinger in Improbable Frequency (Solas Nua), and dual roles,
Demetrius and Saturninus, in Mondo Andronicus (Molotov Theatre). He has also
worked with Studio Theatre, Landless Theatre, Guy Loki Productions, and Pilot
Productions. Cyle wrote and directed Love Me! (Why Everyone Hates Actors), which
premiered at the Capital Fringe Festival, and has directed and choreographed
several shows in the DC area.
William Hayes (Tommy, Big Mac) has performed in the DC area in House of Gold
(Woolly Mammoth), The Mistorical Hystery of Henry (I)V and Hotel Fuck (WSC Avant
Bard), The Room the play (Wiseau Films), and with Imagination Stage, Impossible
Theater Company, and Landless Theatre Company. He is currently the lyricist for
his second children’s musical with Educational Theatre Company. Upcoming: The
Tooth of Crime (WSC Avant Bard).
Tyler Herman (Joey Doyle, Jimmy Conroy, Glover, Interrogator) is working with
The American Century Theater for the first time. Other DC credits include The
Mandrake (Faction of Fools), Pride and Prejudice (Round House Theatre), Perseus
Bayou (Imagination Stage), and Night and Day and Mary Stuart (Washington
Shakespeare Company). Tyler is also a teaching artist for Faction of Fools, Round
House and Adventure Theatres, and others. Upcoming: The Servant of Two
Masters (Shakespeare Theatre Company). Tyler is a proud fool and Associate
Producer with Faction of Fools Theatre Company.
Christopher Herring (Charlie “The Gent” Malloy) is from Jackson, Mississippi,
and has been telling stories in DC since 2009. Past productions include Andre in
Five Flights (Theater Alliance), Karl Marx in Secret Obscenities and Count Bellievre
in Mary Stuart (Washington Shakespeare Company), Joe in Why’d Ya Make Me
Wear this, Joe? (Venus Theatre Play Shack), and A in Crave (Avalanche Theatre
Company). Y’all, enjoy the show.
Christopher C. Holbert (Luke, Barney) is returning to The American Century
Theater after playing Paul Unger in The Country Girl. He recently appeared as
Banquo in Macbeth (Impossible Theater Company), Terry in Principles of Dramatic
Writing (Source Festival), and Fortinbras/Player King in Hamlet Reframed (Fringe
Festival’s Best Drama Winner). Other favorite productions include A Clockwork
Orange and Runaway Home (Studio Theatre) and Helter Skelter (Theatre Lab).
Graham Pilato (Reporter, Mutt, Bartender) is an actor and a clown, and has
appeared locally in productions of Les Justes (WSC Avant Bard), Richard III
(Baltimore Shakespeare Festival), Beyond Therapy (Bay Theatre), The Green Bird
(Constellation Theatre), Cabaret Macabre (Happenstance Theater), Horrors of
Online Dating (Molotov Theatre), and, with the Maryland Renaissance Festival, in
Don Quixote: Books One and Two, Much Ado About Nothing, Hamlet, Pyramus and
Thisby, The Wyrd Sisters, and The Taming of the Shrew. He is an associated artist
with Faction of Fools, DC’s Commedia dell’Arte company, with which he has
appeared in The House with Two Doors, Tales of Love and Sausages, and Tales of
Courage and Poultry.
Jack Powers (Terry Malloy) appears in his first production with The American
Century Theater. Previous credits include Hamlet (Maryland Renaissance Faire),
and Carol’s Christmas (Pinky Swear Productions), as well as two summers acting
and one writing/producing at the Capital Fringe Festival. Jack earned his degree
in theatre from Muhlenberg College.
Bruce Alan Rauscher (Johnny Friendly, Father Vincent) has worked with The
American Century Theater (most recently as Kreton in Visit to a Small Planet),
the Washington Shakespeare Company, Signature Theatre, and Source Theatre,
among others. Favorite roles include Joseph Merrick in The Elephant Man (ACT
award for Best Actor), Alan Strang in Equus, Clark Storey in The Second Man, Alan
Turing in Breaking the Code (ACT award for Best Actor), Edgar in King Lear, Gary/
Roger in Noises Off, Rev. Hale in The Crucible, Edward III in Edward III, and Col. N.P.
Chipman in the TACT production of The Andersonville Trial (Helen Hayes nominee
for Best Actor). Bruce has also been honored with a Mary Goldwater Award for
acting by The Theatre Lobby. He studied film production at the American Film
Institute and attended the American Academy of Dramatic Arts, Pasadena.

Caitlin Shea (Edie Doyle) has performed in the DC area in Knuffle Bunny: A
Cautionary Musical (Kennedy Center for the Performing Arts), Grease (Olney
Theatre Center), Rudolph, the Red-Nosed Reindeer (Adventure Theatre), Junie B.
in Jingle Bells, Batman Smells! (Imagination Stage), and Myth-Appropriation V
(Rorschach Theatre). She has also been seen in School House Rock Live!, Toad’s
Wild Ride, and Tom Sawyer (Foothills Theatre) and Defiant Requiem: Verdi
at Terezin. University productions include: Sunday in the Park with George,
Urinetown, Godspell, You’re a Good Man, Charlie Brown, The Beggar’s Opera, and
JRB Journey.
Kathleen Akerley (Director) returns to The American Century Theater after
directing last season’s Beyond the Horizon. Other projects include The Small
Things (Solas Nua), [sic] (Theater Alliance), Ubu Roi (Rorschach Theatre), shkspr prjct
(Catalyst Theater), Winter’s Tale (Baltimore Shakespeare Festival), Writer’s Cramp
(Scena Theatre), The Skriker and The Gas Heart (Forum Theatre), and the new play,
Everything Between Us (collaboration between Solas Nua and Belfast’s Tinderbox
Theatre). Up next: Sam Shepard’s The Tooth of Crime (WSC Avant Bard). Kathleen
is Artistic Director of Longacre Lea, where staged works include The Dumb Waiter,
After Magritte, Energumen, The Power of the Dog, and her own adaptation of Kurt
Vonnegut’s Cat’s Cradle. Kathleen is also an actor and a playwright whose Theories
of the Sun had its Midwest premiere with Sideshow Theatre in Chicago in 2010,
and a member of the playwriting collective Lizard Claw.
Sarah Conte (Stage Manager) is working with The American Century Theater
for the first time. Other DC credits include: Stage Manager, Wonderful Life (The
Hub Theatre) and Assembly Required (No Rules Theatre Company); Properties
Designer, Pride and Prejudice, Next Fall, and Double Indemnity (Round House
Theatre) and Hamlecchino (Faction of Fools); ASM, A Commedia R&J (Faction of
Fools); and Production Apprentice for Imagination Stage. Sarah received her BA
in Theatre Design and Technology from SUNY New Paltz.
Becca Dieffenbach (Properties Design) is a freelance properties designer
who spends her days working as the props assistant for Woolly Mammoth
Theatre Company. Other professional credits include Stop Kiss (No Rules Theatre
Company), The Baltimore Waltz (Muddy Waters Theatre Company), and Dead City
(Rorschach Theatre).
Jonathan Hudspeth (Technical Director) earned a BA in Theatre Design and
Production as well as Performance from the University of Northern Iowa.
Jonathan has worked his way across the country from The Whitefire Theatre
(Sherman Oaks, CA), to the Utah Festival Opera (Logan, UT), to the Stephen
Sondheim Performing Arts Center (Fairfield, IA), and now to the DC area.
Alison Samantha Johnson (Costume Design) is a fresh designer in the DC area.
Previously based in Philadelphia and a graduate of the University of the Arts,
Alison was part of the first graduating class to receive a BFA in Technical Theater
Design. Costume design credits include: Bachelorette (Luna Theater), Whisky Neat
(Azuka Theater), Fatebook (New Paradise Laboratories) and One Flew Over the
Cuckoo’s Nest (Rutgers University). Alison keeps busy with wardrobe, wigs, and
makeup work in film and other local theaters, including Shakespeare Theatre
Company and Signature Theatre.
Jake Lunsford (Master Carpenter) has built sets and designed lighting on
several plays. This is his first show with The American Century Theater.
Todd Manley (Assistant Stage Manager, Board Operator) is working his first
production with The American Century Theater. Other Northern Virginia credits
include Romeo and Juliet (Vpstart Crow Productions). Todd’s training includes a
summer acting intensive at the Circle in the Square Theatre School.
Marianne Meadows (Lighting Design), a member of Scenic Artists Local #829,
is the Resident Lighting Designer since 1994 for the Washington Stage Guild
(Amelia) and for Solas Nua (Johnny Meister and the Stitch, Scenes from the Big
Picture, and La Corbière). Her designs for The Adding Machine (Washington
Jewish Theater), Quills (Woolly Mammoth Theatre), The Chosen (Theater J), and
Old Wicked Songs (Studio Theatre) earned her Helen Hayes Award nominations.
Other design credits include A Couple of Blaguards (Ford’s Theatre), The Dead
Monkey (Woolly), The Chosen and Miss Margarida’s Way (Studio Theatre), Evita
and Songs from a New World (Open Circle Theatre), the Gay Men’s Chorus of
Washington (ten seasons), and national tours of Cook, Dixon, and Young (the
original Three Mo’ Tenors) and The Acting Company. She received a Theatre
Lobby Mary Goldwater Award in 2004. Marianne holds a BA from Sarah
Lawrence College and an MFA from the University of Washington.

Elizabeth Jenkins McFadden (Scenic Design) returns to The American Century
Theater where she designed The Eccentricities of a Nightingale and Beyond the
Horizon. She serves as the designer-in-residence for Montgomery College–
Rockville, the Washington Savoyards, and the Reeve Theatre series at Imagination
Stage. She is a 2006 recipient of the Theatre Lobby’s Mary Goldwater Award and a
member of the theatrical designers’ union, United Scenic Artists Local 829. Recent
designs in the area include Erendira and Her Ghastly Grandmother (GALA Hispanic
Theatre), Ain’t Misbehavin’ (Washington Savoyards), and Bunnicula and Alladin’s
Luck (Imagination Stage). Favorite design projects in past seasons include shkspr
prjct (Catalyst Theater), Oogatz Man (LongAcre Lea Productions), and Nixon’s
Nixon and Jack and Jill (Round House Theatre).
Neil McFadden (Sound Design) has designed sound and lighting for many
area theaters, including Arena Stage, Studio Theatre, Woolly Mammoth, Olney
Theatre Center, the Washington Savoyards, Rep Stage, Everyman Theatre,
and Round House Theatre (where he was Resident Sound Designer for eleven
years). A ten-time nominee, Neil received a Helen Hayes Award for his design
for Heathen Valley (Round House Theatre). A musician and composer, Neil has
played in many area shows and performs regularly with his rock/blues band,
Mike’s Garage (www.MikesGarageRocks.com), and as a solo acoustic performer.
Kristen Pilgrim (Assistant Director, Co-Fight Choreographer) has assistant
directed and fight captained for three shows with the youth company Traveling
Players Ensemble. Other assistant directing credits include A Fox on the Fairway
(Signature Theatre), The Happy Elf (Adventure Theatre), and Babes in Arms
(Berkshire Theatre Festival). Directing credits include The Shrewing of the Tamed
(Capital Fringe Festival 2011) and Seussical Jr. (S. Berkshire Regional School
District). Also a properties designer, she will be designing for The Bacchae and
The Tooth of Crime (WSC Avant Bard). This is her first time choreographing fights
for a professional show.
Download the podcast. Listen in as Artistic Director Jack Marshall
discusses the TACT production of On the Waterfront with Director
Kathleen Akerley and actors Jack Powers and Matt Dewberry.
Podcast available for download from www.AmericanCentury.org.
Thank you to the many generous donors who provided support from
March 1, 2011 through March 15, 2012.
Group Theater Goers ($5,000+)
Arlington Commission for the Arts
Provincetown Players ($2,500–$4,999)
Arlington Community Foundation
Kevin and Jennifer McIntyre
Wendy and Bob Kenney
Theater Guilders ($1,000–$2,499)
Anonymous
Seth Carus and Noreen Hynes
Rebecca and Gene Christy
Steven R. Cohen and Mary McGowan
Alan King
Peri Mahaley
Virginia Commission for the Arts
Constance McAdam
Andrew McElwaine
Ann Marie Plubell
Victor Shargai
Sheldon and Marilyn Wallerstein
Mercury Theater Backers ($500–$999)
Dennis Deloria and Suzanne Thouvenelle IBM Corporation
Ellen Dempsey and Lou George
Vivian and Arthur Kallen
Robert DuBois
Carl and Undine Nash
Living Theater Lovers ($250–$499)
John Acton
Donald Adams and Ellen Maland
William H. Allen
Jean and Richard Barton
James Bertine
John Blaney and Robin Suppe-Blaney
Elizabeth Borgen
R.G. Bowie
Alan and Susan Branigan
David W. Briggs and John Benton
The Players ($100–$249)
Anonymous
Rick Albani and Rose Kobylinski
Linda Allen and Ron Bass
Tom and Loretta Beaumont
Sally Beth Berger
Neal and Barbara Blake
David and Janet Bond
Ron Brandt
Jeanne Broyhill
Marvin and Ellen Cantor
Hon. Dorothy H. Clarke and
Frederic B. Clarke III
Gloria M. Dugan
Hon. Jay Fisette
Marian Flynn
Edwin Fountain
Tom and Kathy Fuller
Boris and Earlene Cherney
Robyn Dennis
Dr. Coralie Farlee
Tracy Fisher
Susan and Ralph Shepard
David and Willa Siegel
Alan and Sarah-Mai Simon
Frontis Wiggins
Annette Zimin
Barbara Gallagher
Larry George and Brenda Pommerenke
Jean F. Getlein
Kimberly Ginn
Gabe Goldberg
Jerry and Win Greenwald
Robert Gronenberg
Jean Handsberry
Chris and Adriana Hardy
Art Hauptman and Maureen McLaughlin
Alan Herman and Irene Szopo
Thomas Hoya
Norma Kaplan
Charles Lady
Gudrun Luchsinger
Winnie Macfarlan
Angus and Sharon MacInnes

The Players ($100–$249) cont’d
Jacqueline Manger
Alexandra McElwaine
Miriam and Donald Miller
Kim-Scott Miller
Toni Muller
Donn B. Murphy
Suzy Platt
Adam Posen and Jennifer Sosin
Bruce Rauscher
William and Connie Scruggs
Marcia Neuhaus Speck
Hon. and Mrs. John M. Steadman
Barbara Stearns
Virginia Tarris
Norma Jean Verges
Professor Heathcote W. Wales
Marilynn Wilson
Bernard and Sandra Wixon
The Federal Theater Funders ($10–$99)
Anonymous
Edward Herranz
Elizabeth Anderson
Marjorie and George Hobart
Wallace Averill
Steve Hornstein
Cheryl Bailey and
Hon. Mary and Patrick Hynes
William M. McClenahan, Jr.
Laurence Jarvik
Genie Baskir
N.B. Jarvis
J. Breck Blalock
Eric Johnson
Joseph and Andrea Broder
Howard and Myrna Kaplan
Pamela Brodie
Charles and Ellen Kennedy
Laura Burchard
Robert Kimmins
Patricia Chapla
Val Kitchens
Gerald L. Chapman
Donald Konicoff
Paulette Chapman
Shirley Kostik
Susan Clay
R.M. Kraft
Charlotte W. Cleary
Jo Ursini and Ken Krantz
Ronald E. Cogan
Jay Krasnow
Sheridan and Richard Collins
Kathryn and Robert Krubsack
Ray Converse
David A. Lamdin
Daniel and Nancy Cooper
Mary Ann Lawler and Neal Signom
Sally H. Cooper, in memory
Dianne Levine
of Patricia Zimmerman
Mark and Sarah Linton
Karen Darner
Karen M. Lockwood
Mary Kay Davis
Margaret Lorenz
Judy Davis
David and Carol MacLean
Patricia Dowd
James and Maria Mangi
Alison Drucker and Tom Holzman
Capt. Lory F. Manning, USN Ret.
Tracey Eastman and Greg Renz
Phebe K. Masson
Jade Eaton
Evelyn and Milan Matey
William Erdmann
Clarke and Joni Maylone
Janet and Marty Fadden
Henry C. Mayo
Charles Feingersh
Judith and David McGarvey
Donna Feirtag
Harriet McGuire
Renee Fischman
Richard and Dorothy Miller
David Foster
Margaret Miller
Leigh Anna Fry
John Moran
Cathy Garman
Margaret Mulcahy
James and Maria Gentle
Betty Mullen
Madi R. Green
Geoffrey Nixon
Beth and Marshall Green
David Ochroch
Jason Grein
Tricia O’Reilly
Patricia Hagan
Carol Parowski
Rachel Hecht
Ricardo Parra
Ruth and Charles Perry
Gerda Picco
Laura Possessky
Terri Prell
Jonathan Price
Diane Shapiro Richer
Kathryn Richmone
Rhoda Ritzenberg and Ken Heitner
Francis Roche
Michael and Loretta Rowe
Anna Ryan
Sigrid Schaeffer
John H. Schneider
Sharon Schoumacher
Carole Shifrin
Bertha Shostak
Bob and Deb Smith
Pat Spencer Smith
Jean Smith
Nancy Snyder
Diane Sollod
John M. and Alison L. Steadman
Paul and Linda Steinmetz
Joyce Suydam
Kathryn Tatko
Marjorie Townsend
Martha Trunk
William Turner
M. Tyszkiewicz
George and Kay Wagner
Andrea Walker
Barbara Washburn
Doug and Evelyn Watson
Adrienne White
Bonnie Williams
Carol and Henry Wolinsky
Jeanette L. Wurster
Charles Young
Lee Zahnow and George Krumbhaar
Donors-in-kind Rebecca Christy, Brian Crane, Dennis Deloria, Ellen Dempsey,
Kate Dorrell, Bill Gordon, Vivian Kallen, Loren Platzman

Where restaurant meets coffee shop.
Cassatt’s is a cozy, bistro-style restaurant serving tasty
dishes featuring a New Zealand flair. Open seven days a
week, we serve Breakfast, Lunch, Dinner and Weekend
Brunch, with specialty coffees, wines and homemade
desserts.
Try our Early and Late Kiwi Menu,
served Monday-Friday from 4:00-6:00 pm
and 8:00 pm to closing
Located in the Lee Heights shops
on Lee Highway in Arlington.
4536 Lee Highway
Arlington, VA 22207
(703) 527-3330
(703) 527-3551 fax
www.cassattscafe.com
Great Food. Great Coffee.
Great Fellowship.